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Artwork
Maxwell Rabb
On this month-to-month roundup, we highlight 5 stellar exhibitions at small and rising galleries.
Grège Gallery, Knokke-Heist, Belgium
By way of Aug. sixteenth
Set within the former stables of a 14th-century Belgian farmhouse, “Timeless Remnants” options work from 4 artists that discover how reminiscence lives on in supplies—whether or not by the bodily marks left by time or the emotional weight we assign to things. Mounted by native artwork platform CWART and Grège Gallery, the exhibition echoes these themes in its house, which is full of uncovered beams and weathered brick.
Inside this historic venue, Conrad Willems’s Construction VII (2022) stands 10 toes tall. Made out of 977 items of Verde Levanto marble—reduce, sanded, and stacked with out glue—the sculpture references picket toy blocks, but feels nearer to a smash. Like many works in his “Development” collection, the piece nods to the act of passing information ahead and is accompanied by three hand drawings that function meeting directions for each time the sculpture is moved.
Different artists spotlight the ability of reminiscence by the supplies used of their works. In LEAF1 (2025), Estonian artist Laura Pasquino presents the bottom of a damaged vase, a compact, cream-colored kind product of unglazed stoneware and porcelain. Close by, Spanish painter Chidy Wayne’s Ego 138 (2025) layers paint right into a thick, tactile floor, depicting an opened and malformed hand in midnight blue towards a brown background. Up shut, it seems that the floor is weathering away. Whether or not shaped in clay or constructed up in paint, these works really feel temporal: The indicators of damage, very similar to the constructing they occupy, name consideration to their existence within the current.
Galleria Doris Ghetta, Ortisei, Italy
By way of Aug. twenty second
London-based artist Lucía Pizzani’s first solo exhibition in Italy, “Tropico Pasado” at Galleria Doris Ghetta, is impressed by two vastly completely different terrains: the Dolomite mountains, that are shaped from an historic seabed, and the tropical landscapes of her native Venezuela. Incorporating the fossil types discovered within the Italian mountain vary and natural types from the jungle outdoors of Caracas, Pizzani attracts connections between nature and the human physique.
Selva (2025), a big canvas with embedded pink stoneware types, anchors Pizzani’s exhibition. Created by urgent plant fibers and seed pods into uncooked canvas, the work resembles a fossilized forest ground. It additionally displays Pizzani’s ongoing curiosity within the which means behind concha, a phrase that interprets to “shell” in Spanish, but additionally evokes oval seed or the vagina. This form seems all through the exhibition as a metaphor for female power. Pizanni famous in her exhibition textual content that “the shell is the last word armor.” In Tronco Ramal (2025), a standing sculpture composed of black ceramic, wooden, and a dwell plant, Pizzani explores the form of the human physique extra overtly. Resembling a carved tree trunk, the work remembers ritual totems and protecting vessels, highlighting how the physique could be a conduit for each ecological and ancestral connection.
Pizzani holds a BA from Universidad Católica Andrés Bello in Caracas, a certificates in biology from the CERC Heart at Columbia College, and a grasp’s in positive artwork from Chelsea Faculty of Arts. Her work was the topic of a solo exhibition at No. 9 Cork Road earlier this 12 months. Her work is included within the collections of the Tate in London and the Magasin III Museum for Contemporary Art in Stockholm.
SUN.CONTEMPORARY, Bali, Indonesia
By way of Aug. twenty third
Named after the Balinese idea of rwa bhineda—the coexistence of opposing forces—this group exhibition brings collectively 17 Indonesian artists who mirror on dualities. The present at SUN.CONTEMPORARY in Bali navigates contrasts of life and dying, softness and construction, heritage and reinvention.
Ni Nyoman Merti’s Cremation (2023)—a big, intricately detailed, and densely populated cityscape—evokes the Balinese Hindu funeral ritual of Ngaben. Somewhat than depicting the celebratory ceremony instantly, the portray explores how dying shouldn’t be an finish however a return, folding the person again into the rhythms of life. In the meantime, Sarita Ibnoe’s Experimentation of Interruption 02 (2024) takes a special strategy to stress. Right here, yarn is stretched, pushed, and repeatedly manipulated in a course of each aggressive and meditative. The title displays the Bahasa Indonesia phrase kerajinan, which means each “craft” and “diligence.”
Different works mirror on ancestral legacy by materials and fantasy. Alexander Sebastianus Hartanto reimagines the normal kemben breastcloth in Tumpal Loka #01 (Kemben) (2023), utilizing batik-dyed material layered with archival images. The piece weaves collectively his concepts about household lineage with cosmological symbolism. In the meantime, Mangku Muriati’s portray Bharata Yudha Abad 21 (2014) affords a recent retelling of a battle from the Sanskrit epic the Mahabharata—a permanent story of ancestral battle that weighs the forces of greed and justice. These artists render rwa bhineda as a dwelling precept, the place conflicting components exist in productive coexistence.
Ro2 Art, Dallas
By way of Aug. fifteenth
After experiencing short-term blindness in 2018, American artist Kathryn Gohmert grew to become taken with how the mind processes notion beneath stress. Knowledgeable by neuroscience and private expertise, her work discover how concern distorts imaginative and prescient utilizing symbolic types to depict the mind’s makes an attempt to make sense of uncertainty and defend itself. Her solo exhibition “Loculos Timoris”—Latin for “pockets of concern”—focuses on the psychological detours we take when confronted with disorientation and stress by work that depict the mind in motion.
Gohmert presents a collection of 10 work that resemble MRI scans of the thoughts, the place brain-like types are rendered with brilliant colours. Made with oil, graphite, charcoal, and sewn textiles, these works try to make inside ideas legible. In Film 10 (2024), as an example, a vivid orange mind pulses towards a darkish, textured background, flanked by stitched white eyes that seem each medical and cartoonish. This psychological stress performs out within the portray that offers Gohmert’s present its title, Loculos Timoris (OMY) (2024). Right here, disjointed mind types drift throughout the canvas alongside scattered symbols and fragments of textual content.
Based mostly in Germany, Gohmert holds a BA from the College of Texas at Austin. Her most up-to-date solo exhibitions had been offered at Galerie Eigenheim in Weimar, Germany in 2023 and Galerie HELL in Berlin in 2022.
PM/AM, London
By way of Aug twenty ninth
Ukrainian artist Daria Dmytrenko’s eerie, metamorphic work are sometimes impressed by the Slavic folktales that haunted her as a baby. These fables now function a method to discover the artist’s psyche. “Every of my works is basically a manifestation of my inside self,” she stated in an interview final 12 months. Her color-soaked, fluid work think about that when the unconscious takes over, unfamiliar beings seem with out warning. These chimeric types are the topic of “The Dreams I Don’t Remember” at PM/AM, Dmytrenko’s first solo exhibition in London.
In The Triumph of the Huntress (2025), a central determine rises from a swirl of dense, vegetal coloration. This nude determine morphs into fins and claws, which stream organically out of the physique in a forest-like underworld. Likewise, Untitled (2025) portrays a towering bird-headed determine draped in a luminous inexperienced shroud, poised between a tree and a shoreline, as if crossing from one realm to a different. The surreal setting evokes the landscapes of the thoughts that Dmytrenko addresses in her work.
Dmytrenko studied portray at Kyiv’s Nationwide Academy of Visible Arts and Structure, earlier than graduating from the Academy of Positive Arts in Venice, the place she now lives and works. Her latest solo exhibitions embrace “What’s Behind the Gloom” at SETAREH and “Who’s Afraid of the Dark” at Secci, each in 2024.
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Maxwell Rabb
Maxwell Rabb is Artsy’s Employees Author.
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